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The biggest shock the cinema world has encountered in 2025? The resurgence of horror as a leading genre at the UK box office.

As a genre, it has notably surpassed earlier periods with a 22% rise compared to last year for the UK and Irish box office: over £83 million this year, against £68 million the previous year.

“Previously, zero horror films made £10 million in the UK or Ireland. Currently, five have surpassed that mark,” notes a box office editor.

The big hits of the year – Weapons (£11.4 million), Sinners (£16.2 million), the latest Conjuring installment (£14.98m) and 28 Years Later (£15.54 million) – have all stayed in the cinemas and in the popular awareness.

While much of the expert analysis focuses on the standout quality of renowned filmmakers, their achievements point to something changing between moviegoers and the category.

“Many have expressed, ‘You should watch this even if horror isn’t your thing,’” states a film distribution executive.

“Films like these play with genre and structure to create something completely different, and that speaks to an audience in a different way.”

But apart from creative value, the ongoing appeal of frightening features this year indicates they are giving cinemagoers something that’s greatly desired: therapeutic relief.

“Currently, cinema mirrors the widespread anger, fear, and societal splits,” observes a genre expert.

“Scary movies excel at tapping into viewers' fears, amplifying them, allowing you to set aside daily worries and concentrate on the on-screen terror,” explains a prominent scholar of horror film history.

In the context of a global headlines featuring war, border tensions, far-right movements, and environmental crises, supernatural beings and undead creatures strike a unique chord with audiences.

“It’s been noted that vampire cinema thrives during periods of economic hardship,” says an star from a popular scary movie.

“This symbolizes the way modern economies can exhaust human spirit.”

Historically, public discord has always impacted scary movies.

Scholars point to the surge of early cinematic styles after the first world war and the unstable environment of the 1920s Europe, with films such as early expressionist works and the iconic vampire tale.

Later occurred the economic crisis of the 30s and iconic horror characters.

“Consider the Dracula narrative: an outsider from the east brings a corrupting influence that permeates society and challenges its heroes,” notes a commentator.

“Therefore, it embodies concerns related to foreign influx.”

The boogeyman of border issues shaped the recently released folk horror The Severed Sun.

The filmmaker clarifies: “I aimed to delve into populist rhetoric. Specifically, calls to restore a mythical past that favored a privileged few.”

“Also, the concept of familiar individuals revealing surprising prejudices in casual settings.”

Perhaps, the modern period of celebrated, politically engaged fright cinema began with a clever critique debuted a year after a contentious political era.

It ushered in a fresh generation of visionary directors, including several notable names.

“It was a hugely exciting time,” comments a filmmaker whose movie about a murderous foetus was one of the time's landmark films.

“I believe it initiated a trend toward eccentric, high-concept horror that aimed for artistic recognition.”

The same filmmaker, who is writing a new horror original, adds: “In the last ten years, public taste has evolved to welcome bolder horror concepts.”

Simultaneously, there has been a reconsideration of the underrated horror works.

Earlier this year, a nicke l venue opened in London, showing underground films such as a quirky horror title, a classic adaptation and the modern reinterpretation of Dr Caligari.

The fresh acclaim of this “rough and rowdy” genre is, according to the cinema founder, a direct reaction to the formulaic productions churned out at the box office.

“It counters the polished content from big producers. The industry has become blander and more foreseeable. Numerous blockbusters share the same traits,” he says.

“In contrast [these alternative films] are a bit broken. It’s like they’ve erupted out of someone’s subconscious and been planted out there without corporate interference.”

Scary movies continue to challenge the norm.

“Horror possesses a dual nature, feeling both classic and current simultaneously,” notes an expert.

In addition to the re-emergence of the insane researcher motif – with several renditions of a classic novel upcoming – he predicts we will see horror films in the coming years reacting to our present fears: about tech supremacy in the near future and “monstrous metaphors in power structures”.

Meanwhile, “Jesus horror” The Carpenter’s Son – which depicts the events of Mary and Joseph’s struggles after the nativity, and features well-known actors as the divine couple – is scheduled to debut in the coming months, and will undoubtedly create waves through the religious conservatives in the United States.</